Person Information
NameBerni Wrightson
Berni Wrightson
from the article "The fantastic worlds of Rork (1984)":
Some influences are noteable, namely that of horror-and-fantasy writer Lovecraft and of draftsman Wrightson. Of Berni Wrightson (whom Andreas introduces in the first story as the young writer Bernard Wright) we recognize the typical, cramped postures of the persons: wide spread legs and arms, tendinous hands, faces with mouths whose ends are drawn downwards, and the 19th century clothing and waving cloaks. Furthermore Wrightson uses certain, very conspicuous camera positions, like the bird perspective (for example looking into the room from between the beams of the ceiling). He also has a specific way of drawing lines, among others a specific way of indicating shadows, namely by hatching.
We find this in Andreas work unmistakably. In the black-and-white pictures that are published at the start of the first Rork album, Fragments, are published we recognize Wrightson's last work so precisely, the black-and-white illustrations for Mary Shelley's 'Frankenstein', that we can see this as an ode. In his strips Andreas shows that he is very well capable of telling his own story, even with borrowed techniques. He perfects these techniques as well, and uses them in a very personal way. For example he uses a very abnormal page layout and often plain spectacular perspectives.
from the article "Andreas prefers not to explain everything (1995)":
Your style of drawing reminds one of Berni Wrightson. Are you influenced by him?
Andreas: At first I was, when I was working on the first stories of Rork (Andreas deliberately called the writer in the first Rork-story Bernard Wright, red.). Through Wrightson I discovered many American illustrators from the start of this century. Their drawing technique using strokes appealed to me.
The theatrical transformations of your personages is found in the work of your contemporaries, Foerster and Cossu, as well.
Andreas: Of Philippe Foerster I know that he is, like me, influenced by Wrightson. He loved him even more than I. Antonio Cossu is influenced by a much more diverse company of draftsmen. He learned from both Italian, Argentinian and American draftsmen. Therefore he is a much more all-round draftsman. All three of us do have a liking for the fantastic strip.
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You were at the drawing-school of St.-Luc together. Did you acquire common influences there?
Andreas: Not at school. At St.-Luc everything was more focused on 'Moebius' and the Belgian school. At that time I did discover my American influences. In shops and at sales of libraries I encountered their work. Together with Philippe Foerster I bought my first albums of Berni Wrightson and Neal Adams. Later, the two of us - together with Antonio Cossu and Philippe Berthet - had an atelier together here in Brussels. The four of us were working on the same things for a long time.
You have written scenarios for Philippe Berthet and Antonio Cossu did the same for you. Are you ever going to collaborate again?
Andreas: I am going to write a story for Antonio Cossu shortly. I don't know about Philippe Berthet. Maybe so, maybe not.